1. History of Architecture - I
Kurdistan Region-Iraq
ISHIK UNIVERSITY
Department of Architecture
History of Architecture - I 4
Architecture of Ancient Civilizations
(Mesopotamia)
By:
Nizar Najim
Assistant Lecturer

2. 4.1. Akkadian Art & Architecture 2300-2150 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.1. Akkadian Art & Architecture B.C.
The Akkadians, under the domination of the ruler, Sargon of Akkad, assimilated the Sumerian culture and introduced a new concept of royal power; with a basis in unswerving loyalty to the king rather than to the city-state deity
Art faced the task of personal glorification of the sovereign and introduced royal portraiture.
Sculpture in cast bronze of the kings likeness blends realistic naturalism of human features with the Sumerian idealism of plaited hair and beard, enlarged eyes and prominent eye-brows.

3. History of Architecture - I 4
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.1. Akkadian Art & Architecture B.C.

4. History of Architecture - I 4
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.1. Akkadian Art & Architecture B.C.

5. 4.2. Gutian Art & Architecture 2150-2000 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.2. Gutian Art & Architecture B.C.
Sculpture in black diorite, that is in a severe frontal style, shows less individualism and naturalism in comparison to Akkadian sculpture, yet more detailed and natural than the geometric simplicity of Sumerian art.
All corners are rounded off to emphasize the cylindrical quality of the forms and the diorite is polished to a lathe-like smoothness.
Muscular tension is characteristic in the arms rather than passive relaxation and the figure proportion is often dwarf-like, with enlarged heads to fit the entire figure.
A major identification characteristic is a tight curled wool cap that sits upon many of the figures beardless heads.

6. History of Architecture - I 4
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4.2. Gutian Art & Architecture B.C.

7. 4.3. Babylonian Art & Architecture 1900-1600 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.3. Babylonian Art & Architecture B.C.
Sculptural images of Hammurabi and the god Shamash in diorite uses a mixture of Gutian technique and idealism with the portraiture of Akkadian bronzes.
The wool-like caps have been simplified and smoothed and beards have been added.

8. 4.4. Hittites Art & Architecture 1595-1000 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.4. Hittites Art & Architecture B.C.
The Hittites out of Anatolia, today’s Turkey, conquered and sacked Babylon around 1595 BC and then returned to their home region.
The Hittites capital city near Boghazoy, Turkey is constructed of stone similar to Mycenaean fortress construction of the same era.

9. History of Architecture - I 4
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4.4. Hittites Art & Architecture B.C.

10. 4.5. ELAMITES Art & Architecture 4000-641 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.5. ELAMITES Art & Architecture B.C.
The Elamites plunder Babylonia in the second millennium BC and carry off the stelae of Naram-Sin and Hammurabi and re-erect them in their capital city of Susa.
Elam is destroyed by the Assyrians in 641 BC.

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4.5. ELAMITES Art & Architecture B.C.

12. 4.6. ASSYRIAN Art & Architecture 900-612 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.6. ASSYRIAN Art & Architecture B.C.
Assyrians and Babylonian have believed in the unity of the levels of the universe, this concept has reflected on the city and both administrative and holly buildings
The Assyrians adapted Sumerian Ziggurat and temple construction of adobe brick that included the addition of facing stone that enabled the production of relief sculpture that glorified the military might and power of the king and added strength and longevity to the constructions.
Palace construction for the King, in an unprecedented size and magnificence, utilized an early form of barrel vault for the roof support and covering, a method of enclosing a large space without the benefit of wood.
Relief sculpture created the first large scale narratives produced in history that describe specific events in time and space.
Sculpture shows extensive musculature and greater detail in non-facial areas.

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

15. 4.6. ASSYRIAN Art & Architecture 900-612 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.6. ASSYRIAN Art & Architecture B.C.
Architectural Models in Assyrian Architecture:
Cities:
Fortification in Assyrian Cities: all types emphasized on fortification and entrances.
Important Assyrian Cities:
Ashur: the 1st capital of the Assyrians, named according to the God (Ashur), located 80km to the south of Mosul city, at the right side of Tigris river
The city is surrounded with 2 walls, fortified with towers, the 1st is running around the city, and the 2nd parallel to the 1st one.
Khorsabad (Dur-Sharrukin): Built by the King Sargon the 2nd ( B.C.) as almost square shaped Fort surrounded with a huge wall having 7 doors.
Nineveh: Became the capital of the Assyrians when the civilization was at peak time (1080 B.C), at the time of the king Sennacherib ( B.C.), who has fortified it and decorate it with different sculptures and fenced it.
The city has got 15 gates, such as; Shamash, Nirgal, Adad, Mashki, …etc.

16. 4.6. ASSYRIAN Art & Architecture 900-612 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.6. ASSYRIAN Art & Architecture B.C.
Architectural Models in Assyrian Architecture:

17. 4.6. ASSYRIAN Art & Architecture 900-612 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.6. ASSYRIAN Art & Architecture B.C.
Architectural Models in Assyrian Architecture:
Cities:
Planning of Assyrian Cities:
Central system wasn’t followed in the planning of Assyrian cities, core was at the edges far from the center.
In the following Assyrian ages, there were more than an urban core as a result of the expansion of the cities, such as Nineveh city (1st: Tell Kuyunjik, and 2nd: Tel Nabi Yunis).
Separation of private and public activities
Some treatments emerged in Assyrian architecture to separate public from private activities in the city planning, through fences and raising the level of the private and distinguish it from the public.

18. 4.6. ASSYRIAN Art & Architecture 900-612 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.6. ASSYRIAN Art & Architecture B.C.
Architectural Models in Assyrian Architecture:
Temples:
Types of Assyrian temples were more open to the outside, through emphasizing on entrances by huge towers, but entrances were few and limited
New types emerged in Assyrian architecture, such as double temples and ground temple adjacent to the Ziggurat (e.a. Temple/Ziggurat of Ninurta Tuklti and Temple/Ziggurat of Ano Adad)
Palaces:
Fortification of Palaces
In general, buildings were open to the outside, but Palaces were open to the inside, having 2 courtyards; one for the public, and another for the private

19. 4.6. ASSYRIAN Art & Architecture 900-612 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.6. ASSYRIAN Art & Architecture B.C.
Architectural Models in Assyrian Architecture:
Palaces:
Space Organization in Assyrian Palaces:
The main planning unit transforms to a core for the public part and its courtyard.
Moving from the public courtyard to the Throne hall, and from there to private courtyard that is linked to the royal section, through a transition space.
This organization was the baseline for all palaces, especially the royal ones, as the palace of king Sargon the 2nd in Khorsabad
Monumentality in Assyrian Architecture:
In order to show the high symbolism of the Assyrian religious, monumentality was strongly showed in holy buildings and temples. As the case in the Ziggurat of Khorsabad of the 7 layers reached through a spiral staircases

20. 4.6. ASSYRIAN Art & Architecture 900-612 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.6. ASSYRIAN Art & Architecture B.C.
Architectural Models in Assyrian Architecture:

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

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4.6. ASSYRIAN Art & Architecture B.C.

29. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Babylon was at its peak ages when Nebuchadnezzar was crowned on 605 B.C., the architectural activity spread all over Iraq, he has renovated every temple in important cities and rebuilt Babylon city to be a symbol of the Mesopotamia and a center for Iraq along 15 centuries.
Babylon City:.
Falls on the Euphrates river that passes through its center and penetrates it from north to south, rectangular shape surrounded by 2 walls and a trench. The inner wall has 8 gates, the most famous one is (Ishtar Gate) where the Babylonian royal parades passed through.
Fortification in Babylonian Architecture:
Babylonian have used walls (fences) to protect the buildings and the cities

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4.7. NEOBABYLONIAN Art & Architecture B.C.

31. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
City Planning in Babylonian Architecture:.
Some of the Babylonian cities didn’t have a clear urban core, so that religious and other buildings spread among residential buildings and other services within the city wall
Babylonian have used square shapes and other pure shapes, the grid iron design of square divisions was referring to the unity of the universe's levels
Fortification in Babylonian Architecture:
In Temples:
Walls were decorated with god shapes as omens against devils.
In Palaces:
Palaces were fortified and entrances were limited, such as the Mary Palace, while in the new Babylonian palaces were separated totally from the temples and surrounded with a special wall.

32. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Space Organization in Babylonian Architecture:.
In Palaces:
In the early Babylonian ages, the space organization type was an extension to the Sumerian model, this was clear from the relation between the royal section with the Throne hall and with the main courtyard on the other hand (Mary Palace)
While in the late Babylonian ages, it was under the effects of the Assyrian model. The Babylonian have developed the idea of the transition space between public and private
In Temples:
It has been developed. Achieving privacy was an aim for the space hierarchy and the sequence in holy buildings. Emphasizing on centralization in the plan and the courtyard derived from the Babylonian house unit and the transition space, such as the temple of Nenmax in Babylon.

33. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Space Organization in Babylonian Architecture:.
In Palaces:

34. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Space Organization in Babylonian Architecture:.
In Temples:

35. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Monumentality in Babylonian Architecture:.
High monumentality were considered in the Babylonian holy buildings and palaces. In order to provided visual dominance for such buildings and the contrast between the Ziggurat and other buildings.
Ziggurat of Babylon (The Tower of Babylon):
A high and great building, having a square base m length, consists of 7 layers each one smaller than the previous layer
Reached through one middle and 2 side staircases linked to the middle at the top through the 2nd or the 3rd layer. A temple or a Shrine at the top.
The base layer was specially big and higher that the other layers, this became a model in the modern Iraqi architecture.

36. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Monumentality in Babylonian Architecture:.

37. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Ziggurat of Babylon (The Tower of Babylon):

38. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Ziggurat of Babylon (The Tower of Babylon):

39. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
The Hanging Gardens
Irregular rectangular shape located at the north east corner of the southern Palace of Nebuchadnezzar, facing the eastern side of the Ishtar gate and the parade street, and the northern side of the inner wall.
Built in multi-layers vertically arranged, having incredible and unnormal irrigation system
Consists of parallel rooms arranged in 2 row on the sides of a narrow corridor``
In one of these middle rooms, a well was discovered having 3 holes, water was lifted through to the gardens using wheels
One of the 7 wonders of the world.

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42. 4.7. NEOBABYLONIAN Art & Architecture 625-538 B.C.
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.7. NEOBABYLONIAN Art & Architecture B.C.
Architectural bas-relief that uses glazed, kiln-fired bricks, in bright color to produce surface ornamentation.
The natural and mythological animals show grace of motion and gaiety far removed from the Assyrian relief, decoration rather than narration.

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4.8. PERSIAN EMPIRE B.C.
Relief sculpture of kiln-fired brick are of formal profiled figures that show little life with no musculature and simplified facial detail, and are presented in a flat decorative style that was to show richness and greatness of the Persian Empire rather than act as a narrative of deeds.
Architecture: The Persians were Zorasterian and believed that life was a struggle between good and evil, light and darkness, without the intervention of an all powerful god. No religious architecture was built and the Persians effectively ended the period of the Ziggurat.
Palace construction of stone and wood borrowed from Greek, Egyptian and Assyrian traditions and also developed its own unique Apandana Style.
Apandana style utilizes unique cradle-like crowns at the top of columns to support wooden cross-beams that held a cloth-canvas roof covering over the nearly open-air court.
This visually created the effect of nomadic tents designs that were made to stay in a permanent location on a much more regal, monumental, scale.

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Tomb of Syrus the Great

61. Portrait of Syrus the Great
History of Architecture - I 4. Architecture of Ancient Civilizations (Mesopotamia)
4.8. PERSIAN EMPIRE B.C.
Portrait of Syrus the Great

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Tomb of Syrus the Great
Darius the Great

63. History of Architecture - I : 5. References:
1. Ching, Francis D.K., “A Global History of Architectural”, Second Edition, John Wiley& Sons, Inc., Hoboken, New Jersey, 2011
2. Fletcher, Banister, “A History of Architectural on the Comparative Method”, Fifth Edition, Pradbury, Agnew & Co. Limited Printers, London, 2011
3. KOSTOF SPIRO, “A History of Architecture: Settings and Rituals”, Oxford University Press, USA, 1995
4. Mansbridge, John, “Graphic History of Architecture”,
Hennessey & Ingalls, 1999